==== ISSUE 112 ==== CONSUMABLE ======== [June 11, 1997] Editor: Bob Gajarsky Internet: gajarsky@email.njin.net Sr. Correspondents: Jeremy Ashcroft, Reto Koradi, David Landgren, Sean Eric McGill, Tim Mohr, Al Muzer, Jamie Roberts, Joe Silva, John Walker Correspondents: Daniel Aloi, Lee Graham Bridges, Scott Byron, Patrick Carmosino, Janet Herman, Bill Holmes, Eric Hsu, Tim Hulsizer, Stephen Lin, Scott Miller, P. Nina Ramos, Linda Scott, Scott Slonaker, Simon Speichert, Jon Steltenpohl, Simon West, Lang Whitaker Technical Staff: Chris Candreva, Dave Pirmann Address all comments, subscriptions, etc. to gajarsky@email.njin.net ================================================================== All articles in Consumable remain (C) copyright their author(s). Permission for re-publication in any form must be obtained from the editor. ================================================================== .------------. | Contents | `------------' CONCERT REVIEW: Suede / Longpigs - Robin Lapid REVIEW: Sinead O'Connor, _Gospel Oak EP_ - Joe Silva REVIEW: Ani DiFranco, _Living in Clip_ - Jon Steltenpohl CONCERT REVIEW: Metallica - Simon Speichert REVIEW: Various Artists, _POPTOPIA!_ - Bill Holmes REVIEW: Sonic Dream Collective, _Gravity_ - Bob Gajarsky REVIEW: Michelle Malone, _Beneath The Devil Moon_ - Lang Whitaker REVIEW: Various Artists, _Sex-O-Rama_ - Tim Hulsizer REVIEW: Kenickie, _At The Club_ - Patrick Carmosino REVIEW: Amanda Green, _Junk And Stuff_ - Bob Gajarsky REVIEW: The Frogs, _Starjob_ - Reto Koradi REVIEW: The Irresponsibles, _Big Orange_ - Bill Holmes REVIEW: Maximum Jack, _Do Not Disturb_ - Al Muzer NEWS: Jeff Buckley, Chemical Brothers, Billy Joel, Sister Hazel, W.B.Yeats TOUR DATES: Blink 182, Bobgoblin, Buck-O-Nine, Johnny Cash, Cellophane, Cowboy Mouth, Cravin' Melon, Five For Fighting, Fluffy, Furthur Festival (incl. Black Crowes and many more), G3 (Joe Satriani / Steve Vai / Kenny Wayne Shepherd), Sammy Hagar, Paris Hampton, Hoven Droven, Indigo Girls, Irving Plaza, Rickie Lee Jones, Wayne Kramer, Don Lewis Band, Matchbox 20, Blake Morgan / Mini King, Moxy Fruvous , My Life With The Thrill Kill Kult, No Doubt / Weezer / Lunachicks, Ozzfest (Ozzy Osbourne / Type O Negative / Machine Head / more), Poorhouse Rockers, Sevendust, Silver Jet, Sister Hazel, Skeleton Key, Todd Snider, Space, U2, Vallejo Back Issues of Consumable --- CONCERT REVIEW: (The London) Suede / Longpigs, Fillmore Theatre, San Francisco - Robin Lapid A rare but precious thing about live concerts is that special moment when a band performs *for* and *with* the audience rather than just playing *to* them. And it's even better when the music doesn't suck - when it doesn't, it can positively soar. Case in point: the London Suede. As a live act, Suede are a unique beast. On paper, all the facts ring true: there's the band, eager to prove to the world, and themselves, that their initial acclaim was no fluke. That, with the addition of young guitarist Richard Oakes, and more recently with keyboardist/ backing vocalist and sometime songwriter Neil Codling, they can only become stronger and better. And more importantly, they have to prove to Americans (barring those cult-pockets of Anglophiles and ex-pats), that they exist. And that their music is worth repeated listens. It certainly is. The domestic release of their recent album, the more poppier than glam _Coming Up_, hinted at the potential for a great live show. Milk-fed on Bowie and T. Rex, singer-frontman Brett Anderson jumps enthusiastically to his own music, relishing the sold-out Fillmore crowd's screams and rumbling feet and outstretched hands, slowing down only to sing one of his Phantom-of-the-Opera-esque love songs for the 90's indie-pop listener ( like the lilting "Wild Ones" and the elegant "By the Sea"). Themes of frustration and anger divined through sex, drugs, and rock 'n roll that made their previous albums such a visceral release in concert give way to themes of stylish fun and frolic, now divined through, well, sex, drugs, and rock 'n roll. The crowd can still sway and drown to the band's earlier sound, but now they can also pogo ecstatically at the wonder of a soundscape like that of the delectably catchy "Beautiful Ones": "high on diesel and gasoline/ psycho for drum machine/ shaking their bits to the hits." Bassist Mat Osman and drummer Simon Gilbert anchor the show solidly, Oakes shakes his guitar a bit for that rockstar effect, Codling sits louchely at his keyboard, a deadpan "ah popstardom is so boring" stare at the crowd and occassional searches for another cigarette. His synth-string and vocal additions on songs like "So Young" and "She" flesh out the live sound, creating a fuller and lovelier, more three-dimensional Suede. But the show is mostly Brett's. Anderson pumps and preens for the crowd, inciting sing-alongs, bouncing and driven by his own music, feeding the crowd's energy as well as his own. As far as charismatic singers go, he's got a lot to offer in such a skinny frame - a singer by the people and for the people. Once a sexually-ambiguous force given to smacking his ass with the mike and doing provocatively sensual Indian dances, he now confidently strides, jumps, and shakes along with the fans. "You're not singing!" he chides them mid-song, to which the obedient crowd shout along to his chorus of approval. Opening act Longpigs, a Sheffield outfit in the vein of Adorable and Echo and the Bunnymen, provided a melodically subdued pop performance, with lead singer Crispin Hunt pulling a Jarvis Cocker by inviting each audience member to "gently fondle the genitals of the person to your left" for the love song that followed. Come to think of it, they were a perfect opener to the Suede show, which contained primarily songs from _Coming Up_, but also selections from previous albums as well as haunting b-sides ("Europe Is Our Playground"). Songs which sound merely great on stereo are unleashed as new beasts on stage, and become interactive pieces which enjoin the crowd in one of those special live "moments." --- REVIEW: Sinead O'Connor, _Gospel Oak EP_ (Chrysalis/EMI) - Joe Silva While much is being made of Sinead O'Connor's media-ready fangs being spiritually yanked by the birth of her second child (a daughter, Roisin), it seems like rock's problem lass has merely taken to finessing her anger into a more refined, palatable passion for this brief six song outing. Not one to step back from directness, Sinead appears so lyrically naked and open to scrutiny, ridicule, etc that even when laid gently against these cooing melodies and soothing tones, it's difficult to create a comfort zone around some of her material. Beginning with the soft "This Is To Mother You," she moves slowly from promise to atonement, from whisper to strident call and back. Within a mix of hushed guitars and a near Enya-like backdrop of pizzicato strings, Sinead is able to resolve momentarily her well known struggle with "Mother" into an earnest pledge of motherhood. Following on with "I Am Enough For Myself" (inlaid with a recurring melody line that rings familiar) and "Petit Poulet," she offers faces of personal resolve and comfort respectively, that further cast her hard-baked willfulness into passages of a more positive, less calamitous strength. Coming smack dab in the center, "4 My Love" plays easily as the record's centerpiece. Set to a stern march and a pretty braid of accordion and Spanish-flavoured guitar work, Sinead sings an ode to the co-author of her child and a restive keeper of the Irish flame. But the featured item in all of this has to her voice itself as it travels layered and unlayered across the track. In the pop songstress category there are a few number of voices that contain character of such breadth. Eventually the Tori Amos/Sarah Mclachlan camp will have to be herded together, but beyond a statement of self-assurance and hard won composure, the _Gospel Oak_ is another citing of a siren pre-eminent. --- REVIEW: Ani DiFranco, _Living in Clip_ (Righteous Babe) - Jon Steltenpohl Prepare yourself. _Living in Clip_ is a jaw dropping, groove driving, emotional train wreck. Ani DiFranco takes a very bold step forward, further from obscurity, with a truly vital live double CD. In a day when live albums serve mainly to fill out the contracts of washed up artists, DiFranco smacks you across the face and passionately reminds you that music was meant to be lived and experienced. On _Living in Clip_, DiFranco presents essential versions of her quiet folk songs, funky grooves, and inflamed rages that have already sold 750,000 copies of her 8 studio albums. "Wait a second! Ani who?", you ask. A fair question if you've only listened to your local "alternative" radio station. DiFranco is the current reigning queen (king?) of her own punk-folk domain. As a detached girl of divorced parents, she hung out at folk clubs and let the artists crash in her room after the shows. When she eventually picked up a guitar and started writing her own songs, she already knew the dangers of the music business. By the time her self-produced tape started selling, DiFranco already had a reputation as an east coast, feminist, bisexual folk artist. Now, on her 9th album, DiFranco's music is still raw and original, and she still runs her own label, Righteous Babe Records. About the only thing that's changed is that she's upset a few fans by actually falling in love with a man. Impossible to categorize as just "folk", DiFranco completely blends folk, punk, and funk into her own style. Like punk and folk musicians both, her original music bleeds with emotions. She has tattoos and funky hair, she puts out her own records, and she plays in front of real audiences in town after town in D.I.Y. fashion. _Living in Clip_ is a chronicle of DiFranco in real time. The album starts with an improv of digitized voice loops harmonized live on stage and then breaks to DiFranco commenting, "Man, this is so fuckin' weird... it's unbelievable." Exactly. DiFranco hasn't simply recorded a single concert and then overdubbed the hell out of it. Instead, _Living in Clip_ captures DiFranco straight to 8 track in front of over 2 dozen audiences throughout North America over the course of 1995 and 1996. Most of the tracks feature her with her bandmates Andy (drums) and Sara (bass). The opening track is "Gravel", a new song that is 100% Ani. Upront is DiFranco's trademark staccato acoustic guitar. Over the intro chords, DiFranco makes silly barnyard animal noises and giggles a bit. And then the serious lyrics. Her lover comes to see her after a fight, but he breaks down her pitiful defenses. She compromises herself, and somehow justifies riding off into the sunset with someone she both abhors and adores. Explains DiFranco, "You've been juggling two women like a stupid circus clown... telling us both we are the one. And maybe you can keep me from ever being happy, but you're not gonna stop me from having fun." Fans already know that DiFranco's ironic self awareness and twisted independence set her apart. Whether political or personal, DiFranco rips her heart out, takes a good look for herself, and then tells you what you see as it beats before your eyes. DiFranco takes the role of a topless dancer in "Letter to a John". She sings defiantly, "I want you to pay me for my beauty. I think it's only right 'cause I have been paying for it all of my life." In the quiet "Joyful Girl" she looks in the mirror and says "Would you prefer the easy way? No, well o.k. then, don't cry." Taking the hard way has paid off for DiFranco. By staying away from the major labels, she took a chance. But DiFranco has persevered, and it has paid off. She's even been featured by magazines like Forbes as a Gen X business woman, but those type of articles seem to ignore the fact that people buy her albums because of the power of the music. _Living in Clip_ is perfect proof of the spoils gained by independence from the majors. It is a fan's album in every way. There's a massive, full color photo album from the tour with on-stage shots as well many candid backstage shots. The tracks represent the best from every stage of DiFranco's career, and many, most notably "Adam and Eve", eclipse their studio versions. There are many song intros left in place along with snippets of hilarious dialogue and bits of improv jams. The only weak point on the album are two tracks that DiFranco recorded for the opening of a hockey rink with Doc Severinsen and his orchestra. Sure, they're interesting in a surrealistic sort of way, but they don't match the energy and style of the rest of the album. Still, it's a slight indulgence for her most faithful fans to include them, and with 2 full CDs worth of music, they hardly begin to detract from this otherwise incredible collection. Every few musical generations, an artist comes along that is so vital to a genre that the next few generations can't escape their influence. Whether it be Woody Guthrie for folk, Robert Johnson for classic rock, or James Brown for funk and rap, certain fundamental artists bridge the gap from the past to the future of music. So, allow me to make a prediction. 20 years from now, when the next generation of independent female artists are popping out of every corner, Ani DiFranco will be on their lips as the trail blazer who let them sing their souls without selling out. (Although _Living in Clip_ is an independent album, it is available at most record stores or directly from Righteous Babe Records at 1-800-ON-HER- OWN.) TRACK LISTING: Disc 1 - , , Gravel, Willing to Fight, Shy, Joyful Girl, Hide and Seek, Napoleon, I'm No Heroine, Amazing Grace, Anticipate, Tiptoe, Sorry I Am, The Slant/The Diner, 32 Flavors, Out of Range; Disc 2 - Untouchable Face, Shameless, , Adam and Eve, Fire Door, Both Hands, Out of Habit, Every State Line, Not so Soft, , , In or Out, We're All Gonna Blow, Letter to a John, Overlap --- CONCERT REVIEW: Metallica with Corrosion of Conformity - Simon Speichert Metallica have long been considered heavy metal gods in the eyes of millions. But, with the release of last year's _Load_, an album heavily criticized for sounding "alternative", it seemed like they had lost that title. On May 28th, in Edmonton Coliseum, the last date of their year-long tour, they took it back. Now, maybe I am biased because Metallica is one of my favorite bands, but Metallica rocked the place to the ground. The tour's stage is set up right in the middle of the arena, where the Edmonton Oilers normally play hockey, and there is space around it for 900 people. Because of its placing, everyone gets a good view of the stage. There's actually two stages, a large one shaped like an eight, and a smaller circular one. During the show, the band switched stages a couple of times. During the opening band, Corrosion of Conformity's, set, the Coliseum was barely one-quarter filled. That was really a shame, because they were really good. Good and heavy. I take it not many people that were there were COC fans, as the only song that really got a response was "King of the Rotten" off of their new album _Wiseblood_, as it has been heavily played on local radio. Metallica, the heavy metal gods, the captains of crunch, the dukes of distortion, came on about 50 minutes after COC ended. There was no dramatic entrance, no announcer, just four guys running in and giving the crowd five. Those four guys then got on their instruments and ripped through "So What" with the house lights still on! Next came some awesome pyrotechnics to accompany "Creeping Death". During the show, Metallica mainly played their best songs, including "Enter Sandman" (which everyone sang along to), "One", which boasted the night's most awesome pyro, "Master of Puppets", "Seek and Destroy", "For Whom The Bell Tolls", "Fade To Black", "Sad But True" (which, as one reporter put it, is "the heaviest song ever written"), and "Hero of the Day", during which the barrage of lighters held up probably overpowered the stage lights! Metallica has this amazing charisma that gets everyone in the act, whether it's singing along, shaking your extremities to the beat, or participating in James Hetfield's "repeat after me's" ("F**k no, James!" "We don't give a s**t!"). Oh, yeah, I forgot the most emotional part of the show, Jason Newsted's melodic bass solo, after which two tears came running down his face. Here's a devil sign for you, Jason. All in all, an ass-kicking show, exactly what you get every time with Metallica. This was the last show of the tour, and in a month Metallica will be going back into the studio to finish their new record, then it's back on the road to kick some more ass. --- REVIEW: Various Artists, _POPTOPIA! Power Pop Classics of the 70's_ / _of the 80's_ / _of the 90's_ (Rhino) - Bill Holmes Like revisionist history, bad commercial groups and disco divas are lauded at the exclusion of some of the most seminal bands of the last quarter century. God knows how many Time-Life and K-Tel infomercials and magazine ads trumpet the "greatest collection of music ever assembled" while people like Nina Blackwood (ex-MTV jock) to Dick Clark (who should know better, dammit!) try to pry the wallet out of my pocket by massaging my memory banks. The problem is, my favorite musical moments of the past thirty years of music don't involve disco, synthesizers or hair and spandex bands. (Maybe there's a good reason that these collections are "not sold in stores"!) How depressing it was to realize that as the years passed, it looked more and more like the only legacy from the era would be vapid videos and a collections of "hits" from what has arguably been radio's most banal period. Thanks to Rhino, this is no longer the case. Literally borrowing the title from the two-year old Los Angeles music festival, Rhino has assembled fifty-four slices of pop under the title POPTOPIA, with three individual eighteen song CDs representing the best of the 70s, 80s and 90s. And although longtime pop lovers like myself may already have most or all of these songs in some format, those just discovering the world of power pop are in for a musical education that will change their lives. Naturally there are great songs that are not included for one reason or another. With eighteen songs per decade and one appearance per artist, it's tough to whittle down an era, but the staff at Rhino did an admirable job at band and song selection. Some omissions are due to licensing problems (XTC and Squeeze are nowhere to be found, nor is Badfinger's "No Matter What", arguably the best example of the genre of power pop). And of course there will be differing opinions - I'd take Adam Schmidt, Material Issue or The Gladhands over Velocity Girl in a heartbeat - but that should only make you realize how much great pop music is being made, despite the anal retentive radio formats that have yet to fully embrace it. But this collection is not meant to supplant or even sum up an era. What it does well is whet the appetite for more upbeat, heartfelt three minute songs. And where some collections celebrate a long-gone movement in music, consider that the pop scene is exploding all over again on an international level. Amazingly, many of the artists featured on the 1970s disc are still playing together!. Some, like 20/20, reformed by demand, others like Cheap Trick and The Shoes have been going all along. Survey the artists on the 1990's disc and you'll find bands that without exception can be traced back to Big Star, Badfinger or the Raspberries. The 1970's disc features the bands that took the pop foundation and melodic sensibilities of the Beatles, Kinks, Who and Beach Boys and nurtured it to create a hybrid sound. Although some of these songs became bonafide hits, radio had changed enough after the 1960s that for every "Go All The Way" on the charts there was a "September Gurls" that wasn't. Still, bands from all over the world found an exciting common ground, whether they came from the British pub scene, the industrial Northeastern US or the heartland. Most of the selected songs are as fresh today as ever - there's a truly timeless quality to Dwight Twilley's "I'm On Fire" and Todd Rundgren's "Couldn't I Just Tell You". Other tracks range from the denser sound of the Flaming Groovies' "Shake Some Action" to the unbridled joy of the Rubinoos' almost-bubblegum anthem "I Wanna Be Your Boyfriend". But radio feasted first on progressive rock, then formulaic corporate music and its cross eyed cousin, disco. As the decade passed its midpoint, bands in New York and London revolted with New Wave and punk. Somehow pure pop got left behind. The 1980's was the first video decade, as MTV made its mark and the ability to write a good hook took a back seat to the ability of spandex rockers bedding models on videos. Pop bands were cranking out great music once more, but found it harder to make a dent. Even established artists like Rundgren (captured here with Utopia's "Crybaby") struggled to get airplay. Pop music became defined more by groups like Duran Duran and the Human League, who wrote more for the visual medium than the radio. Occasionally a great song would cross over - The Romantics' "What I Like About You" was irresistible enough to have club play and power pop credibility - but more often than not a brilliant pop statement would be relegated to cult hit status rather than the Top 100. Witness the Plimsouls' classic track "A Million Miles Away" which remains little known despite being included on a film soundtrack and twice being released as a single! This middle disc walks the line between several better known classics and some excellent choices from lesser known acts. Besides the Romantics, probably the biggest "hit" is the Bangles "Going Down To Liverpool" (speaking of overlooked bands, this was a Katrina And The Waves cover). But savor these great artists - the late, great Phil Seymour with "Baby It's You"; the underrated Spongetones with "She Goes Out With Everybody"; Mitch Easter's combo Let's Active and "Every Word Means No". How about Marshall Crenshaw's picture perfect "Whenever You're On My Mind", or the La's and the stunning "There She Goes"? Two I was particularly proud to see included were Bill Lloyd's beautiful "Lisa Anne" and "She's So Young" from the wonderful Canadian band The Pursuit Of Happiness. Next time somebody complains that the eighties sucked, you might want to correct them with this CD. Maybe radio sucked, but the eighties didn't! The last disc might be the toughest to audit, as the nineties were only two thirds over when these songs were compiled. Unfortunately, many of the bands included here are already defunct (Jellyfish, The Grays) or one step away from it (Velvet Crush, The Posies) because of the state of the music industry. Others like Matthew Sweet and Redd Kross survive but are anything but secure. Yet as the 90's progress, pop may have finally turned the corner. The Internet is becoming an important marketing tool, pop oriented magazines are flourishing, smaller independent labels are growing, and bands like The Records, 20/20 and Cheap Trick are producing new music that is as vital as their older material. Most importantly, hundreds of new bands weaned on the originals are writing, recording and touring. Some of the brightest new lights are included here - The Tearaways, The Rooks, Wondermints, P. Hux - household names to the true pop aficionado, exciting new acts for the newcomer. It's probably the most prolific and exciting time in power pop's history, and you couldn't ask for a better charter than these three CDs. The liner notes are written by three of the most respected names in pop journalism - John Borack, Carl Cafarelli and Jordan Oakes, whose own _Yellow Pills_ series is a less commercial yet equally indispensable collection of pop songs. In addition, many of the artists included in the series contributed short notes about their bands, their songs, and their perception of the movement then and now. And although the bands and songs are featured on the back sleeve as stacked-up soup cans, don't associate them with the Andy Warhol version - you'll give these classic tracks far more than Andy's "fifteen minutes of fame". Here's a tip - if you have a multi-disc CD player, pop these three in and set it to "shuffle" play. Regardless of the order, you'll hear song after great song, and that few seconds of mechanical noise in between numbers will make you think you have just pumped a roll of quarters into the greatest jukebox in the world. Which, of course, you have. --- REVIEW: Sonic Dream Collective, _Gravity_ (Interhit) - Bob Gajarsky If it suceeds once, and suceeds twice, why not a third time? That could very well be the motto of Sweden's Sonic Dream Collective on their debut album, _Gravity_, which seems to take its cue from their fellow homelanders Abba and Ace of Base. The three piece band, featuring Linn Engstrom on lead vocals, pulls out all the tricks which helped those two groups soar to the top of the European charts. Engstrom's voice echoes reminiscent of Abba's Frida Lyngstad and Agnetha Faltskog can be heard, while the music knocks off some of Ace of Base's biggest hits; "I Wonder Why" owes a few nods to AoB's "The Sign", and the reggae-tinged "Don't Go Breaking My Heart" might make a few people hum along to "All That She Wants". There's no shortage of potential happy house hits here; "Oh Baby All", the title track, "Happy Tune", and the dead ringer for Agnetha and Frida "I'm Alive", all could hit home with listeners. Throughout all this, however, there are two tracks which completely eschew the effective - but predictable - Abba/Ace of Base formula. Both songs are acoustic numbers, and prove that a band based in dance music can play an instrument other than the keyboards. "Take Me Back", the key cut on this disc, has Engstrom sounding like Jewel in a folky cabaret bar, and the acoustical reinterpretation of "Oh Baby All" would do well under the MTV Unplugged cameras. If Ace of Base doesn't float your boat, and Abba's "Name of the Game" and "One Of Us" don't ring familiar, it might be best to let _Gravity_ float on by. And while Sweden's latest export may not be setting any records for originality, Sonic Dream Collective will keep dance fans happy on _Gravity_ - and maybe even a couple Jewel fans as well. --- REVIEW: Michelle Malone, _Beneath The Devil Moon_ (Velvel) - Lang Whitaker After releasing 5 previous albums to widespread acclaim, Michelle Malone is releasing her 6th album this summer- all the ripe old age of 29. A long-time fixture of the Atlanta folk music scene, Malone graduated from her previous spot on Amy Ray's (Indigo Girls) Daemon Records and moved on to Velvel Records with her stirring new release _Beneath The Devil Moon_. The songs that comprise _Moon_ sound like they were drawn at random out of a hat. They range from straight-forward rockers ("Grace", "In the Weeds") to airy flamenco jazz ("Edge") to pseudo-R&B ("Dimming Soul"). Even though the styles of the songs shift dramatically from track to track, they more or less hold up as an entire body of work. The melodies and harmonies are ear-catching without being too overwhelming. The album was co-produced by Malone and David Ryan Harris, who formerly played guitar with Follow For Now and Dionne Farris. According to Harris, "What I brought to the project was keeping the production based around guitar and layering different textures, instead of ending up with loud, monochromatic guitars." Harris' influence is loud in its own way, as the guitars indeed are layered as thick as a baklava. Relying on the obvious strength of her vocals to carry past albums, Malone now has a more mature approach to her vocals that matches the direction Harris took to the guitars. On the first track ("Grace") Malone starts singing at a whisper, sounding like Lori Carson, before the song builds into a pounding mass. Malone's vocals have a definite flexibility and familiarity. She sounds a lot like Sheryl Crow throughout the album, but without Crow's radio-friendly sugar coating. After going through two backing bands (Drag the River and Band de Soleil), Malone is able to showcase her deft guitar touch here thanks to the stripped down production. Drummers Melvin Watson, Jr. and Danny Bigay alternate, and Mike Snowden and Chris Wilson tag in and out on the bass. Malone cites jazz, blues, gospel, and rock as her influences, and they combine to form a work that at times is transcendent, and, at times redundant. In general though, this is a very good release. --- REVIEW: Various Artists, _Sex-O-Rama_ (Oglio) - Tim Hulsizer Our friends at Oglio were facing a quandary. They had formed a few years back with the express purpose of releasing great 80's pop music that was getting ignored by all the other record labels. However, as the end of 1996 loomed, they realized that labels are leaping all over the 80's reissue bandwagon, from new wave and rockabilly to goth and hair metal. The solution? Time to get wacky. Enter _Sex-O-Rama_. What better way to celebrate the original spirit of the label while branching out into other forms of music. How many times have we all been talking to our friends, had them make some subtle innuendo, and suddenly thought of THAT RIFF. You know the one, that swaggering "wakka-chikka" riff that we assume all "classic porn" music had. The riff that kicked in whenever a big sex scene was about to take place (i.e. every 5 minutes). Well, I'm here to tell you we were right. The music DID have that patented wakka-chikka. And it's every bit as funny, sexy, and satisfying as we always thought. Now, I'm not an avid porno fan. I'll admit to the usual casual knowledge of the genre, maybe my youthful hormones led me astray once or twice at the video store, but that's about it. Folks, I have gotta tell you I love this CD. Sure, it's in poor taste. Yes, there's a half-naked porno star named Jenna Jameson wearing a cheerleader outfit on the CD artwork (see booklet for fan club info). But how can you not love an album with this kind of chutzpah?! It knows what it wants to do and it does it with style. Basically what they did was to put together a batch of very competent musicians, listen to the tunes in the movies, then faithfully reproduce the songs in the studio with the original instruments. Don't be disappointed that these aren't "culled from the master tapes"; it undoubtedly sounds better than the real thing anyway. And speaking of the band, the names listed in the CD booklet are absolutely hilarious. There's Sid Getzoff on guitar, Haywood Jablomi on bass, Phil McCrackin playing flute, and many more stellar musicians. The liner notes themselves are certainly the funniest, most straightforward I've ever read as well. Robert Rimmer presents each piece of music with some historical background on the films and revelations about the whole industry, etc. (Most of the pornographic films of the 70's/early 80's era were done on film, not video as they apparently are today). Also, Scott Ramsay talks candidly about his first encounter with porn movies in a neighborhood theater ("Up until then the only pornography I'd ever seen was crappy 8mm sex movies ordered from the back of Pregnant Lesbian magazine...") From the opening notes of "The Shower Scene" from Debbie Does Dallas to the final waxing strains of Deep Throat's "Main Title Theme", this is instrumental music at its finest. Maybe you wouldn't be caught dead watching this stuff, but a disc of the music sure makes a great conversation piece. Many more well-known movies are represented here, including "Behind the Green Door", "I Like to Watch", and more. I suppose everyone can't be expected to like this album. I showed it to several friends and their reactions ran the entire gamut of emotions, from laughs and curiousity to casual smirks and indifference, and one person was even insulted. C'est la vie. Personally, I find the idea charming and it's presented here quite tastefully (note Ms.Jameson's playful poses). All in all, it doesn't deliver any real answers as to why we know the titles of these films, but I came to some conclusions of my own. First, some of those titles are freaking funny. And second, it's the music, stupid! Do yourself a favor: grab your pom poms, a close friend, and this entertaining release. Maybe you'll find your fantasies fulfilled. --- REVIEW: Kenickie, _At The Club_ (Warner) - Patrick Carmosino The most fun bunch of Brits to down a pint with since Lush, this young quartet brings the noise sassy and flashy yet very much for real. Combining the smarts of Sleeper with the punch of Elastica and the youthful exuberance of Bis (in fact, like the Galswegian trio, they cast doubt upon overtly politically correct, lo-fi, diy culture with the track "Punka"), Kenickie show a mature understanding of the pop form, harmonies and all and how to make it work. This is all topped off by the Clare Grogan-gone-bad vocals of Lauren Laverne. All this and they are barely out of their twenties! --- REVIEW: Amanda Green, _Junk And Stuff_ (Y&T) - Bob Gajarsky Critics can sometimes get lazy in their reviewing, and ignore lesser known artists in favor of today's latest, greatest major label release. But every so often, an artist like Amanda Green comes along and slaps us in the face, to reminds us *why* such prejudices aren't completely justified. On her debut album, _Junk And Stuff_, Green has put together a stellar collection of fourteen tracks which will call to mind DiFranco, Tori Amos, Joan Osborne, Kate Bush and the upper echelon of alternative female performers. The classically trained pianist puts that talent to use on the tender ballad "Like I Do" (think Tori's "Silent All These Years" coupled with Joan Osborne's vocals) and the poignant, inquisitive "Why Do I Have To Die?", while the Liz Phair-esque guitar rockers "Make It Right" and "I Stay Home" shine the spotlight on the harder side of this Miami native. Green's label, Y&T is best known for being the launching ground for the group For Squirrels. And even though _Junk And Stuff_ was released in 1996, it stands head and shoulders over many of the better known alternative albums released this year. _Junk And Stuff_ is one release that makes a critic remember that not all the good talent gets claimed by the major labels. For more information on this release, contact Y&T Music at 1755 NE 149 Street, Miami, FL 33181. --- REVIEW: The Frogs, _Starjob_ (EP) (Scratchie) - Reto Koradi One song is grunge, another one TMBG style quirky fun pop, the next one a bittersweet ballad that reminds of Bryan Ferry, then come one or two clever and catchy pop songs in the Kinks tradition, and the whole thing closes with soft rock elements, Scorpions style. And all of this is on one EP of 16 minutes, by one band. The bad thing about this variability is that it makes it hard for a reviewer to put a label on The Frogs. The good thing is that the music is fresh, intelligent, and highly enjoyable all through. The lyrics go from ironic ("I Only Play For Money") to cynical and potentially controversial ("Raped"). It is hardly possible to make a final judgement on The Frogs based on _Starjob_. But it certainly shows potential, it would be interesting to see how they do on a full length release. We are keeping our eyes open. --- REVIEW: The Irresponsibles, _Big Orange_ (Isabelle Records) - Bill Holmes It's unusual to find a band on a small label that tosses in cello, mandolin, harpsichord, banjo and accordion on top of the guitar/bass/drum axis. Actually, most major label bands don't do that. But I guess you're going to need the whole orchestra if you cover as much musical turf as The Irresponsibles do on _Big Orange_. Starting off with a couple of fairly straight-ahead tracks, _Big Orange_ twists and turns its way through country, bluegrass, funk, pop, and even an acoustic ballad with orchestration. I admire the ambition - the instrumentation is diverse and well placed, and the production is first-rate for an independent release. What I don't get from this record is any cohesion - no band identity, no continuity. While most of the record is pleasant, it's all over the map, which means some people may not find enough of what they like on it. The kickoff track, "When The Sun's Out", is one of the record's strongest moments. Using echoes and floating background vocals, the music is equal parts 1960 and 1990, although the quirky lyrics ("Come home but the locks have been changed / My parents like me but they think I'm deranged...") betray the song's cheerful title. When the lyrics are a little clever or different, like these are, they can lift an ordinary song a notch higher. Most times, the Irresponsibles are leaning on their music, and songs like "Weight Of The Universe" fall flat. Three other recommended songs are "Love Freedom", "By The Way" and "Walk With Me", which are all written or co-written by Dominic Laudani. He doesn't appear to be a permanent member of the group; I suggest the Irresponsibles keep his number handy. Also fun is the banjo-driven "Barking At Airplanes", a song Ben Vaughn would love. Diversity can be a great thing or a sign of a band pulled in too many directions. There's good talent here, so it will be interesting to see what happens during the Irresponsibles' next chapter. --- REVIEW: Maximum Jack, _Do Not Disturb_ (Maxjack) - Al Muzer A damn-near brilliant band, New Jersey's Maximum Jack! teeter on the brink of recalling REM, Badfinger, Better Than Ezra, Game Theory ("Behind The Tree" should'a been on _The Big Shot Chronicles_), Shoes, America (the end of "Zoloft" lifts the riff from "Sister Golden Hair"), Big Star, Tommy Keene ("Ballad Of Twenty Dollars"), the Raspberries ("October" packs a gorgeous power-pop punch), the Who, the Jam and the Plimsouls without quite committing to any one particular style, source or sound. The four-piece's deft incorporation of several "A"-list influences on each song (five outta eight would fare well as singles), outstanding musicianship, excellent vocals, catchy hooks and urgent melodies makes Maximum Jack's debut a "must-have" blast of high quality, high caliber, pop-based jangle-noize worthy of your immediate attention. The disc can be purchased for $12 direct from Maxjack Records at: Maximum Jack, c/o Greg Hoy, 731 Park Ave. Suite A, Hoboken, NJ 07030 or via their web site at http://www.webcom.com/maxjack --- NEWS: > Jeff Buckley's body was found in the Memphis, Tenn. harbor on Wednesday, June 4, bringing a week-long search for the singer to an unfortunate end. According to officers involved, there were no obvious indications of any cause of death other than accidental drowning. > The Chemical Brothers have finished up work on their next single, "Elektro Bank", which will feature a B-side with guest vocalist Justin Warfield. > Billy Joel will be covering a Bob Dylan song, "To Make You Feel My Love", on a greatest hits album which will be released later this year. > Sister Hazel will be on America Online for a chat with fans (see keyword: ABCKids) at 4:30 pm EST on Wednesday, June 18. > Lyrical master William Butler Yeats will be the focal point of a tribute album. The U.K. label Grapevine has issued the compilation album _Now And In Time To Be - A Musical Celebration of the Works of W.B. Yeats_, which features works by musicians who have incorporated Yeats' poems into their music. Although many of the artists performing here - including the Cranberries, Shane Macgowan, and World Party - are best known for their musical accomplishments, one of the participants is not; an early spoken word recording from the poet himself. More information will be provided in a future review in Consumable. --- TOUR DATES: Blink 182 Jun. 20 Las Vegas, NV Huntridge Theater Jun. 21 Mesa, AZ Nile Theater Bobgoblin Jun. 20 Denton, TX Rick's Place Buck-O-Nine Jun. 13 New Orleans, LA Faubourg Center Jun. 14 Atlanta, GA Masquerade Jun. 17 Pensacola, FL Sluggo's Jun. 18 Tallahassee, FL Cow Haus Jun. 19 Orlando, FL Sapphire Jun. 20 St. Petersburg, FL State Theater Jun. 21 Oakland Park, FL Prop Room Johnny Cash Jun. 13 Saratoga, CA Montalvo Center Jun. 14 Los Angeles, CA Greek Theatre Jun. 17 Boulder, CO Boulder Theatre Jun. 19 Telluride, CO Bluegrass Festival Jun. 21 Lake Delton, WI Crystal Grand Music Theatre Cellophane Jun. 14 Santa Monica, CA Santa Monica Pier (ESPN Extreme Games) Cowboy Mouth Jun. 20-21 New Orleans, LA House Of Blues Cravin' Melon Jun. 12 Greenville, SC Characters Jun. 13 Asheville, NC Be Here Now Jun. 14 Myrtle Beach, SC House Of Blues Jun. 19-20 Columbia, SC Elbow Room Jun. 21 Hillsboro, NC Family Hog Fest Five For Fighting Jun. 13 Philadelphia, PA North Star Jun. 14 Asbury Park, NJ Saint Jun. 17 Atlanta, GA Point Jun. 18 Columbia, SC Elbow Room Fluffy Jun. 13 Anaheim, CA Linda's Doll Hut Jun. 14 Santa Monica, CA Santa Monica Pier Furthur Festival (incl. Black Crowes and many more) Jun. 20 West Palm Beach, FL Coral Sky G3 (Joe Satriani / Steve Vai / Kenny Wayne Shepherd) Jun. 18 Camden, NJ Blockbuster Center Jun. 19 Hartford, CT Meadows Jun. 20 Wantagh, NY Jones Beach Jun. 21 Holmdel, NJ PMC Arts Center Sammy Hagar Jun. 19 South Padre, TX South Padre Island Conv. Ctr. Paris Hampton Jun. 18 New York, NY Brownies Hoven Droven Jun. 13 Toronto, ON NXNE Showcase performance Jun. 14 Andersonville, IL Midsommer Festival Jun. 15 Minneapolis, MN Cedar Cultural Center Indigo Girls Jun. 13 Kettering, OH Fraze Pavillion Jun. 14 Clarkston, MI Pine Knob Music Theatre Irving Plaza (New York concert hall; http://www.irvingplaza.com) Jun. 13 Motorhead / W.A.S.P. Jun. 14 Breeders / Toyota Comedy Festival Jun. 20 Misfits Rickie Lee Jones Jun. 13 Portland, OR Roseland Jun. 14 Vancouver, BC Greceland Jun. 17 Minneapolis, MN First Avenue Jun. 18 Chicago, IL Metro Jun. 19 Detroit, MI St. Andrews Hall Wayne Kramer Jun. 14 Chapel Hill, NC Lizard & Snake Jun. 17 Washington, DC Black Cat Jun. 18 Cambridge, MA TT Bears Jun. 19 Philadelphia, PA Pontiac Grill Jun. 20 New York, NY Mercury Lounge Don Lewis Band Jun. 20 Honesdale, PA Joey C's Jun. 21 Salisbury Mills, NY Loughran's Matchbox 20 Jun. 17 Houston, TX Numbers Jun. 18 Austin, TX Liberty Lunch Jun. 21 Dallas, TX Texas Motor Speedway Jun. 22 Oklahoma City, OK Zoo Amp. Blake Morgan / Mini King Jun. 13 New York, NY Mercury Lounge Moxy Fruvous Jun. 14 Amagansett, NY Stephen's Talkhouse (w/Mary Black) Jun. 15 New York, NY Randalls Island Jun. 17 Pittsburgh, PA Rosebud My Life With The Thrill Kill Kult Jun. 13 Columbia, MO Blue Note Jun. 14 St. Louis, MO Mississippi Nights Jun. 15 Minneapolis, MN First Avenue Jun. 17 Milwaukee, WI The Rave Jun. 18 Chicago, IL Cabaret Metro Jun. 19 Grand Rapids, MI Orbit Room Jun. 20 Columbus, OH Newport Music Hall Jun. 21 Cleveland, OH Odean Theatre No Doubt / Weezer / Lunachicks Jun. 17 Virginia Beach, VA Va. Beach Amphitheatre Jun. 18 Bristow, PA Nissan Pavillion Jun. 20 Camden, NJ Blockbuster Sony Center Ozzfest (Ozzy Osbourne / Type O Negative / Machine Head / more) Jun. 14 Mansfield, MA Great Woods Jun. 15 East Rutherford, NJ Giants Stadium Jun. 17 Columbus, OH Polaris Jun. 19 Chicago, IL World Amphitheatre Jun. 21 East Troy, WI Alpine Valley Poorhouse Rockers Jun. 21 Fells Point, MD Leadbetters Sevendust Jun. 21 Virginia Beach, VA Virginia Beach Amphitheatre Silver Jet Jun. 13 St. Petersburg, FL Jannus Landing Jun. 14 Ft. Lauderdale, FL Chili Pepper Jun. 15 Orlando, FL Embassy Jun. 16 Orange Park, FL Shades Jun. 18 Atlanta, GA Roxy Jun. 19 N. Myrtle Beach, SC House of Blues Jun. 20 Myrtle Beach, SC Sound Factory Jun. 21 Norfolk, VA Boathouse Sister Hazel Jun. 11 St. Louis, MO Side Door Jun. 12 Springfield, MO Bar Next Door Jun. 14 Atlanta, GA Chameleon Club Jun. 15 Birmingham, AL City Stages Jun. 20 West Palm Beach, FL Meyer Amphitheater Jun. 21 Orlando, FL WSHE Birthday Show Skeleton Key Jun. 13 New London, CT El N Gee Club Jun. 14 Philadelphia, PA Pontiac Grille Jun. 19 Baltimore, MD Fletchers Jun. 20 Charlottesville, NC Tokyo Rose Jun. 21 Washington, DC Black Cat Todd Snider Jun. 18 Chattanooga, TN Riverbend Festival Space Jul. 14 Santa Barbara, CA Emerald City Jun. 16 San Diego, CA Cane's Jun. 17 Los Angeles, CA El Rey Jun. 18 Tempe, AZ Gibson's Jun. 21 Salt Lake City, UT Utah State Fair Park U2 Jun. 14 Edmonton, AB Commonwealth Stadium Jun. 18 Oakland, CA Oakland Coliseum Jun. 21 Los Angeles, CA L.A. Memorial Coliseum Vallejo Jun. 13 Reno, NV KDOT Festival Jun. 14 Birmingham, AL City Stages Jun. 15 Los Angeles, CA Santa Monica Pier Jun. 19 Shreveport, LA KTUX Festival Jun. 21 Englewood, COFiddler's Green --- Founded in August, 1993, Consumable Online is the oldest continuous collaborative music publication on the Internet. To get back issues of Consumable, check out: WWW: http://www.westnet.com/consumable FTP: ftp.quuxuum.org in the directory /pub/consumable ftp.prouser.org (URL) http://www.westnet.com/consumable/Consumable.html (Delphi) Music Fandom forum; GO ENT MUSIC Web access contributed by WestNet Internet Services (westnet.com), serving Westchester County, NY. Address any written correspondence to Bob Gajarsky, Consumable Online, 409 Washington St. #294, Hoboken, New Jersey 07030 ===